By Hugo Segawa
Architecture of Brazil: 1900-1990 examines the approaches that underpin glossy Brazilian structure lower than numerous affects and characterizes varied understandings of modernity, obvious within the bankruptcy subject matters of this booklet. hence, the writer doesn't supply total choice to specific architects nor works, except for a couple of particular works and designers, together with Warchavchik, Niemeyer, Lucio Costa, and Vilanova Artigas.
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Structure of Brazil: 1900-1990 examines the strategies that underpin glossy Brazilian structure below numerous impacts and characterizes diverse understandings of modernity, glaring within the bankruptcy themes of this publication. for that reason, the writer doesn't provide total choice to specific architects nor works, apart from a number of particular works and designers, together with Warchavchik, Niemeyer, Lucio Costa, and Vilanova Artigas.
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Extra info for Architecture of Brazil: 1900-1990
Accordingly, architecture did not follow the same liveliness as the literary or pictorial debates: the architecture exhibition in the Modern Art Week did not cause much commotion. Only drawings were exhibited; the lack of built works reinforced the indifference of the professional circle. Its participants, moreover, did not show a knack for “the right to aesthetic experimentation,” which modernist Mário de Andrade (1893–1945) qualiﬁed as the achievement of the movement of which he was one of the leaders.
Limitations on Warchavchik’s Modernity 39 In a newspaper article from 1928, Osvaldo Costa called the attention to the incorporation of traditional elements in the house on Santa Cruz Street: […] the most curious thing is that Warchavchik was able to bring to the house interesting elements of our colonial style. That is because the remaining researchers, who were exclusively concerned with the ornamental part of our old style, failed to see the essential in it, except for Warchavchik. And that was how the notable Russian architect […] was able to effortlessly launch the basis of an architectural style that was purely Brazilian indeed, or better yet, tropical, and, as such, it adapts itself to the environmental conditions and circumstances and meets the needs of our climate, our temper, our traditions, our customs, among others.
In two half pages of the biweekly, it was the longest article ever published throughout the seven issues of the magazine. However, the content of the architect’s statements did not include the nationalist agenda that was brought up by most articles. But the relationship between the Russian architect and the modernists had been established. In the following year, in 1927, Warchavchik would marry Mina Klabin (1896– 1969), who came from a wealthy family of industrialists from São Paulo. The marriage granted him access to the local elite circles, as well as it provided him with conditions to accomplish his architectural experiments by building himself and his family a house.